There are bands that are born with the aim of achieving success, and others for expressive needs devoid of any commercial ambition.

Kokoroko belongs to this second category.

A collective rather than a band, eight elements that came together almost by chance.

Sometimes in life it happens that two people get to know each other before they even meet, and destiny is the one that defines the time and place to seal a human relationship.

And so happens that Sheila Maurice-Grey and Omone Edgeworth, two London jazz musicians who had brushed up against each other in the English capital, meet in Kenya and lay the foundations of this project.

Kokoroko’s adventure starts in 2019 with the release of the song “Abusey Junction”, which to date has 60 million views on YouTube.

2022 is the year of their recording debut and “Could Be More” is enthusiastically received by UK critics, reaching the top end of the UK charts.

The group is openly inspired by the great pioneers of afrobeat such as Fela Kuti and Tony Allen and consolidates the long tradition of African music in London.

The term “kokoroko” comes from Urhobo, a traditional Nigerian language, and means “to be strong”.

They decide to call themselves in this way because they are clear about the message they want to send out through their music. Their lyrics often speak of the duality of life, which is never monolithic, but often is contradictory. 

Their plea is to take every aspect of living and arrive at a synthesis represented by a smile.

The concerts are engaging and overflow with joy, being celebrations and collective rituals at the same time.

The new album to be released in July 2025 could be the consecration step for these young people, sons of the African diaspora, who are charting a new page in contemporary jazz, looking to the cosmopolitan future but with firm black roots.